have a few questions about ana’s filter ,br
is the formant filter types like a vowel filter ? br
whats the difference between 2pole and 2pole saturated?br
whats the difference between 2pole and 4pole?br
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REALLY excited for the ANA 1.5 i hope its going to be as good as always!
yeah formants is another name for vowel sounds.br
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2pole saturated has a subtle overdrive added… makes it a bit more sqechy on stuff like acid sounds.br
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2pole and 4 Pole refer to how steep the filter curve is. 4 pole has a quicker cutoff of the frequencies.
to add to this…br
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you see a 4 pole, 4 pole HP, and 4 pole BP. I don’t see a low pass. is the default one a low pass? Also, what’s the difference between the vintage and non-vintage?br
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-r
On the subject of ANA - just out of interest - who did you get to do all the coding for it?/PPIt sounds pretty awesome - so presume you must have used some guys who are very good?/PPMy understanding is that to do things like emulate vintage gear, requires masses of lines of sophisicated code!/PPThis must have been pretty intense, right?
[quote]rforbes (25/01/2013)[hr]to add to this…br
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you see a 4 pole, 4 pole HP, and 4 pole BP. I don’t see a low pass. is the default one a low pass? Also, what’s the difference between the vintage and non-vintage?br
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-r[/quote]br
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Yeah the default on is low pass.br
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The vintage filters have more non linearity and sound more Analog than the standard ones but use a little more CPU power. So if you are just using them for sculpting i.e. just cutting off some freqs use the basic ones… if the Filter is fundamental to the sound i.e a Bass with a sweep on you could use the vintage ones… although they all sound good for different things so just try a few different variations.br
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[quote]davidmclean (25/01/2013)[hr]On the subject of ANA - just out of interest - who did you get to do all the coding for it?br
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It sounds pretty awesome - so presume you must have used some guys who are very good?br
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My understanding is that to do things like emulate vintage gear, requires masses of lines of sophisicated code!br
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This must have been pretty intense, right?[/quote]br
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Yeah we are working mainly with Michael Olsen (phonoxone) defo a lot of work involved.
Just out of interest - how much work does it take to create a soft-synth the quality of ANA?/PPi.e. how many lines of code, how many man-hours etc? /PPI’m interested as one thing that interests me is where dance music can go next?/PPFor example, we had the advent of digital FM synthesis with the DX7, which altered the face of dance music. Then there were synths like the Access Virus, and the JP8000, which shook things up and influenced things./PPSo i’m wondering if, once people exhaust the possibilties with things like emulating classic analogue synths and hardware, someone will come up with a totally revolutionary sound and method of synthesis, that taps into the power of using computers to make music?/PPOr has this already been done with things like Reaktor and Omnisphere? I haven’t tried either of them so wouldn’t know, but have heard great stuff about both of them, and read that they are pretty forward-thinking.
hmm theres kind of 3 main areas in this type of project.br
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- Design - getting concept, GUI and flow of the plugin rightbr
- general software development… i.e. make a Plugin that works well… few bugs… stable etc.br
- DSP - designing the digital code to create analog sounding stuff. i.e Filters OCSs FX etc.br
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They are 3 totally different skills.br
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There is a lot of widely available research online about DSP and analog modeling… the trick is to make it it so its CPU efficient.br
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Also component modeling is the big new thing… synths like Diva and UAD stuff use it… its way more CPU intensive but you get so close to real analog gear that you really cant tell the difference.br
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thing is a lot of the guys who are really into the theory side arent really musicians they are just in to the science of it.br
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I think with ANA we started the right way round… “i want to be able to make all these sounds… how do we do it” as opposed to lets emulate this filter down to individual components.br
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